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Wszystko wskazuje na to, że będzie to zjawiskowo dobry wieczór dla Olivii Rodrigo.
Ta młoda artystka ma zaledwie 18 lat, a dzięki swojemu debiutanckiemu albumowi podbijała listy przebojów tj. Billboard 100, jak i Spotify .

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1. Sour – Olivia Rodrigo

2. Happier Than Ever – Billie Eilish

3. Evermore – Taylor Swift

4. Montero – Lil Nas X

5. Positions – Ariana Grande

6. Good News – Megan Thee Stallion

7. Back of My Mind – H.E.R.

8. Starting Over – Chris Stapleton

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Billie Elish w The Rolling Stone - The pop superstar’s new album is a stunner. But she had to walk a dark road to get there 

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Billie Elish w The Rolling Stone - The pop superstar’s new album is a stunner. But she had to walk a dark road to get there 

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Yana Yatsuk for Rolling Stone

The pop superstar's new album is a stunner. But she had to walk a dark road to get there

From the outside, the house isn't terribly different from others on the block: a cozy bungalow in L.A.'s Highland Park neighborhood with an old lilac tree blooming near the entrance. In fact, it's legendary: the place where a prodigal teenager and her older brother recorded the album that made Billie Eilish Pirate Baird O'Connell the queen of Gen-Z pop.

It's a location familiar to any Eilish fan, and at first glance on an absurdly beautiful day in April, not much appears to have changed about the house in the couple of years since it became famous, along with its teenage occupant. The O'Connell family's rescue dog, Pepper, trudges through the backyard, now joined by Eilish's year-old rescue, Shark, a gray pit bull. Signs of home-schooling linger in common areas, like an old-fashioned pencil sharpener attached to the wall and dingy supplies precariously placed on a desk.

But look closer, and plenty is different. For starters, contemporary pop's most famous home studio, set up in the childhood bedroom of Billie's brother Finneas, is no longer a studio. Instead, the siblings' mom, Maggie Baird, has taken over the space. "It still looks similar. There's just no equipment," Billie insists as she greets me in her kitchen, gathering ingredients and utensils for the cookies she wants to bake. Her mom's added a blue rug to the bedroom and sleeps there with their cat, Misha. "We kept [the studio] for a while, then we were like 'We don't need this,' " Eilish says.

Finneas moved out a couple of years ago, settling down in Los Feliz with his influencer girlfriend Claudia Sulewski. He constructed a new studio in his basement, where he and Eilish began recording music last year. Eilish is, at first, cagey about admitting that she's moved out as well. "I'm secretive about what's really going on," she offers conspiratorially, rummaging around the cabinets of her parents' kitchen like a college student visiting home on a long weekend. "It's been a couple of years now where I've been doing my own thing. But secretly, because nobody needs to know that."

Eilish hasn't been totally lying about where she lives; she still spends a lot of nights in her childhood bedroom. "I just love my parents, so I want to be around them," she says, shrugging. Maggie and her husband, Patrick O'Connell, buzz in and out of the kitchen, commenting on the cookie baking and helping Eilish use the old oven. Eilish is sporting her new blond-bombshell look. A 180 from her formerly signature black-with-green-roots 'do, the new hair caused an uproar when she debuted it on Instagram in March. Today it's damp from a shower, and she's cozied up in a black T-shirt from her own merch store, along with a pair of matching sweats. On today's menu are vegan, gluten-free peanut-butter-and-chocolate-chip cookies. She's reading off an old recipe displayed on a food-stained printout that has clearly been well-utilized over the years. Eilish used to make them whenever she was sad. "It was a therapeutic thing for me," she explains.

And yet, even on the darkest songs there are moments of reflection, growth and, most important, hope. This is an album from someone who began to heal long before she wrote it. Or at least tried to.

"Have you eve r gotten stung on your head by a bee?"

Eilish mentions she got stung "like 20 times" on a camping trip when she was eight or nine. It's a story she's told before. "I don't know why that popped into my head," she says. "Why did that pop into my head? I have no idea."

She posed the question after a bit of mesmerized silence as we watched Shark go to town on an empty can of peanut butter. Eilish doesn't like silence; she even narrates the cookie baking like a food vlogger. She shows me how to make oat flour ("It's literally oats on their own; pour them in this thing [a Vitamix blender], full power") and figuring out the right chocolate chip to peanut-butter-dough ratio. ("Some people like too many. I like too little.")

"I can't go to the bathroom without watching something on my phone," she says. "I can't brush my teeth. I can't wash my face." Over the past year she rewatched a lot of things: Sherlock, The Office "probably like six times," "like four times," Jane the Virgin. There was also time for , Killing Eve, The Flight Attendant, The Undoing, and Promising Young Woman "like four times."

"It's all on my phone," she explains. She rarely watches anything on TV, except The Twilight Saga, which she took in for the first time recently, with a friend. "I just watch it while I do anything because it takes my mind off the reality of life. I should go on My Strange Addiction, " she says, coincidentally referencing her 2019 song of the same name (which, by the way, samples dialogue from ).

When We All Fall Asleep and the image she projected at the time marked her uniqueness from the rest of the pop world. But those things also cemented a view of her she'd love to leave behind. I mention an instruction during a musical challenge on a recent season of RuPaul's Drag Race where a competing drag queen was told the song she was performing was "very Billie Eilish."

"Anytime I hear somebody say, 'Oh, your songs sound the same,' it gets me. That's one thing I really try hard to not do. I think the people that say that have literally only heard 'Bad Guy' and 'Therefore I Am.' " Both of those songs feature Eilish's tendency for muted, moody sing-rapping. These days, she's channeling the jazziness in her voice, a timbre honed from years of touring, on songs like "My Future" and "Your Power."

Eilish's privacy was more precious than she had initially realized. She put a lot of herself out for the world to consume early in her career, when she was an "annoying 16-year-old" (her words) trying to engage with her fandom the way she wanted her favorite artists like Justin Bieber to do back when she was a preteen fan. "It's sad because I can't give the fans everything they want," she says. "The bigger I've gotten, the more I understand why [my favorite celebrities] couldn't do all the things I wanted them to do."

She struggles to find the right way to frame it. "It wouldn't make sense to people who aren't in this world. If I said what I was thinking right now, [the fans] would feel the same way I did when I was 11. They'd be like, 'It would be so easy. You could just do it.' No. It's crazy the amount of things you don't think about before it's right in front of you."

"I wish that I could tell the fans everything I think and feel and it wouldn't live on the internet forever. And be spoken about and called problematic, or called whatever the fuck anybody wants to call any thoughts that a human has," she explains. "The other sad thing is that they don't actually know me. And I don't really know them, but obviously we're connected. The problem is you feel like you know somebody, but you don't. And then it's like, yeah. It's just a lot."

We move outside, to the sole picnic table in the yard, and enjoy the warm, crumbly peanut butter cookies. Shark finds a particularly bright patch of sunlight to lie in. Suddenly, he hops up and runs along the fence, in response to the barks of a neighbor's dog that he desperately wants to befriend. Eilish is a bit jealous.

"Don't you just wish that was you?"

"My mom was saying this yesterday," Eilish says. "When you're happier than ever, that doesn't mean you're the happiest that anyone's ever been. It means you're happier than you were before."

Early 2020 was a whirlwind. Eilish swept the Big Four categories at the Grammys and started a headlining tour that would have eaten up most of her year. She was more excited than she had been for previous tours, which left her with sprained ankles, shin splints, and chronic pain. She played all of three dates before the pandemic forced her to cancel the rest.

Eilish says she's letting go of the Old Billie, who would tuck away her own emotions to make others feel better. "There've been times where I've been really affected by somebody, and I said to them, 'I need to tell you how you've made me feel.' And they said something that was like, 'I can't handle this right now. I just can't handle this right now. This is going to be too much for me.' "

She says she spent so long "being fucked with" and had to realize that while the toxic traits she sings about were often born out of pain, that doesn't make it OK. "I was talking to a friend about their life, and they told me all this crazy traumatizing shit that happened to them. And I'm like, 'Oh, right, you don't have to treat everyone like a piece of garbage, just because you've been hurt.' It's OK to be traumatized by something and have bad instincts, but also, there's no excuse for abusing people. There just is not. I feel like everything is excuses all the time. Excuses, excuses."

Album opener "Getting Older" was particularly harrowing to write. "Wasn't my decision to be abused," she sings over a delicately plucking synth beat. By the end, she lays bare what's on her mind. "I've had some trauma/Did things I didn't wanna/Was too afraid to tell ya/But now I think it's time." Eilish recognizes how shocked listeners may be by the rawness of the song. "I had to take a break in the middle of writing that one, and I wanted to cry, because it was so revealing. And it's just the truth."

The title track, which starts like a mopey breakup song, then fires off into an electric-guitar-driven rager, was the first thing she started writing for the album, back on the European tour where she felt like she was thriving. The rest of the songs bare different kinds of catharsis, teetering between sexy, electronic beats and warm folkiness, reminiscent of her earliest music. Each song is delicate, sensuous, and balancing naked vulnerability with a bit of self-protective confidence posturing.

Many have assumed Eilish's chilling single "Your Power," which mentions a relationship between a teen girl and an older man, is about Adams. Eilish - who released the song in late April, along with a statement saying, in part, "this is about many different situations that we've all either witnessed or experience" - strongly objects to this notion. "Everybody needs to shut up," she says. The documentary, she insists, "was a microscopic, tiny, tiny little bit of that relationship. Nobody knows about any of that, at all. I just wish people could just stop and see things and not have to say things all the time."

Eilish describes herself as "clingy," but since she and Adams broke up in 2019, she's spent the past two years trying to learn how to exist on her own. "I didn't know how before," she explains, "which is ironic because I had never been in a relationship that allowed me to really exist with that person anyway. My emotion always is because of somebody else's, and that had been such a big pain in the ass."

She's still trying to grow out of that. "You heal eventually."

Eilish and I actually weren't supposed to meet at her parents' house. She wanted me to see where she recorded Happier Than Ever, in Finneas' basement studio. But a pipe burst, nearly destroying the space. "The room had to be completely rebuilt," he explains later over Zoom. "But my hard drives, synthesizers, and guitars and stuff were all fine. I feel very lucky for that."

Eilish speaks with relief at how much less draining the recording process for Happier Than Ever was compared with her debut. It was partially due to some peak-mom advice from Maggie early in the pandemic. After nearly a month of lockdown, Maggie suggested that her kids get on a weekly schedule. Every Monday, Wednesday, and Thursday, Eilish would drive her matte-black Dodge Challenger over to Finneas' house. Some days they would write songs. Other days they'd play Animal Crossing or . Every day they would eat good meals: "A lot of Taco Bell, homemade pizza, taro boba, Thai food," Eilish lists. "Crossroads and Little Pine. Nic's once. Fatburger once. It was such a reward."

This time, there was no pressure. No notes from the label. No meetings. No rush to meet deadlines. "No one has a say anymore," Billie says. "It's literally me and Finneas and no one else." On April 3rd, 2020, the first day of their new weekly work schedule, they wrote "My Future." Within a couple of months, they realized that they were making an album.

She pulls out a clear acrylic sign holder with the track list written in marker, songs clearly erased and moved around. "I think I'm going to frame this," she says, smiling. There are some water stains on it, since it got drizzled on when Finneas' studio flooded.

The 16 songs on the album are the only 16 they worked on. The pair are completists: Once they start a song, they have to see it through with meticulous precision until it's perfect to them. The way the album sounds is a testament to that, each song a unique, avant-pop soundscape that elevates the baroque trip-hop-ness of her debut.

"I admire artists that can make, like, three songs in a day and keep doing that over and over," Eilish muses. She compares songwriting to running, in that it would be "fucking exhausting" to do all the time. "Songwriting is like that for me. I'm pretty good at it, but it takes a lot out of me. I feel like I just ran a marathon whenever I write a song."

Finneas saw the change in his sister this time around. She liked writing songs, feeling less tortured by the process than before. "It's been awesome as a big brother to see her become more confident and feel more ownership and just to be more excited than I've ever seen her about the music that we're making," he says. "I also just think she has objectively gotten even better. That's my opinion. If she were an Olympic gymnast or something, she would've gotten better. She'd be able to do a higher vault or something."

Since "Bad Guy," Finneas has become one of pop's most in-demand producers, working with everyone from Tove Lo to Selena Gomez. He also has his own solo career that's taken off, though the studio flood came at the worst time possible for it, as he was working on his debut album. Eilish has found Finneas' career outside of being her creative partner to be "fucking great" and easy for them to adjust to. "It doesn't interfere at all, and it's fun for him," she says. "He only does what he wants to do. He's not a slave to it."

"I scratch a lot of itches working with Billie," Finneas continues. "I think my primary goal was to just go deeper. This was Billie's sophomore album, you just . . . you have the opportunity to go further inward and further down in your Mariana's Trench."

Finneas says that their process is "50-50" creatively, and he speaks proudly about the gated tremolo and distortion that elevate songs like "Oxytocin" and "NDA," two tracks that look at romance and hookups through the lens of a very famous person attempting to have both under the radar.

"Billie Bossa Nova" takes that theme one step further, building a fantasy around the life of a touring pop star. "We have to do a lot of goofy bullshit when we go on tour, where we enter through freight elevators in hotels and stuff, so that paparazzi doesn't follow us to our room," he explains.

"And so we acted as if there was also a secret love affair going on in there of Billie being like, 'Nobody saw me in the lobby/Nobody saw me in your arms,' as if there was a mystery person in her life during all of that."

"I write songs with my brother, and we kind of have to plug our ears when we're writing about desire for other people because we're fucking siblings," Eilish says later. Songs like "Oxytocin," named for the hormone released in the bloodstream due to love or childbirth, has her wondering "What would people say . . . if they listen through the wall?" over a slinky beat. The folky "Male Fantasy" features her distracting herself with pornography, then meditating on the effect porn has on men.

"The thing is, we're very open about both of our lives, so it's not weird, really," she continues. "It's just fun. It's songwriting and it's storytelling. We just have to think about the art of it and not think too hard about [the lyrics]."

As 50-50 as they are, Finneas drives home the fact that everything is under Eilish's name for a reason. "In many instances we've been asked about our relationship as a duo when it's billed as a solo artist," Finneas says. "It's her life. It's all her world. I'm helping her articulate that, but it's really her experiences that she lived through, and on this album she let me into it a lot. But I don't know what that's like to go through."

He quotes his friend, the singer-songwriter Bishop Briggs, who says writing is how she copes with everything. Finneas agrees. "Billie making this album was her working through a lot of this stuff."

When Eilish releases a new song, she can't listen to it again. It disappears into the universe, only to be heard by its maker if she happens to catch it as it's played on radio every hour on the hour. "It's not because I don't like it anymore," she explains. Happier Than Ever has become Eilish's favorite album in the world, but she's already mourning the loss of it, months before it even comes out. As we talk, it's a couple of weeks before the first single is even public knowledge.

"I don't know how to explain this, but all the songs on the album feel like a specific time, because they feel like when I wrote them and made them," she explains. "It's so funny that to the rest of the world it's going to feel like a certain moment for them, and it's going to be so different than mine. That's such a weird, weird thing to wrap my head around. And I will fucking love it. I love it. That's the reason you do this. It's for that."

When Eilish and I speak one last time, "Your Power" has been out for a few days. It spurred reflective conversations online, with many women sharing their own experiences with sexual or emotional abuse. The lyrics about an older partner taking advantage of a younger woman struck a particular chord, and Eilish herself is still processing that reaction.

"I feel like people actually really, really listened to the lyrics," she says, flopping around her room in an oversize Powerpuff Girls shirt. "I was scared for it to come out because it's my favorite song I've ever written. I felt the world didn't deserve it."

She broke her own Instagram "like" record that weekend as well: Her shoot for British showed her in more revealing clothes than she had ever been pictured in, channeling Forties boudoir shoots. The images were a topic of internet obsession for days: Was it a betrayal of her more "modest"-seeming fashion before? Did she make the decision herself? But it's not like her body hadn't been up for debate even when it was clothed: Her baggy outerwear was used to shame her peers, and she was subjected to belittling, fatphobic assumptions from the too-curious. "I saw a picture of me on the cover of [from] a couple of years ago with big, huge oversize clothes [next to] the picture of [the latest ]. Then the caption was like, 'That's called growth.' I understand where they're coming from, but at the same time, I'm like, 'No, that's not OK. I'm not this now, and I didn't need to grow from that.' "

The song has already taken on a life of its own, so she doesn't have many expectations for how people will react to the rest of the as-yet-unheard songs. She'd like to make a visual for each track, and plans to embark on a world tour at some point.

She has one other wish for her new music. "I hope people break up with their boyfriends because of it," she says, with only the slightest tinge of humor. "And I hope they don't get taken advantage of."

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Billie Eilish and the Pursuit of Happiness

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Yana Yatsuk for Rolling Stone From the outside, the house isn't terribly different from others on the block: a cozy bungalow in L.A.'s Highland Park neighborhood with an old lilac tree blooming near the entrance. In fact, it's legendary: the place where a prodigal teenager and her older brother recorded the album that made Billie Eilish Pirate Baird O'Connell the queen of Gen-Z pop.

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dziewiąty album studyjny amerykańskiej piosenkarki i autorki tekstów Taylor Swift, nakładem wytwórni Republic Records. Wydano go niecałe pięć miesięcy po poprzednim albumie piosenkarki, Folklore(2020).

Pierwszym singlem promującym krążek został utwór „Willow”, który ukazał się w tym samym dniu co album.

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Taylor Swift - willow (Official Music Video)

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1. Olivia Rodrigo - Drivers License

2. Silk Sonic - Leave the Door Open

3. Lil Nas X Montero – Call Me By Your Name

4. Dua Lipa feat. DaBaby - Levitating

5. Cardi B feat. Megan Thee Stallion - WAP

6. Ariana Grande - Positions

7. Doja Cat feat. SZA-  Kiss Me More

8. Justin Bieber feat. Daniel Caesar and Giveon - Peaches

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Billie Eilish - Happier Than Ever (Official Lyric Video)

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„Levitating” osiągnął piąte miejsce na UK Singles Chart i drugie na US Billboard Hot 100, stając się siódmym singlem Lipy w pierwszej piątce w Wielkiej Brytanii i drugim w USA. Ta piosenka jest również najdłużej publikowaną piosenką Top 10 artystki z listy Billboard Hot 100, stając się drugą piosenką, która spędziła 40 tygodni w regionie. Osiągnął również drugie miejsce na liście Billboard Global 200.

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Dua Lipa - Levitating ft. DaBaby / Don't Start Now (Live at the GRAMMYs 2021)

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Silk Sonic to amerykański superduo R&B, w skład którego wchodzą artyści: Bruno Mars i Anderson .Paak. Duet wydał swój debiutancki singiel „Leave the Door Open” 5 marca 2021 roku, z nadchodzącym debiutanckim albumem, "An Evening with Silk Sonic", którego premierę zapowiedziano na 12 listopada 2021 roku.

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Bruno Mars, Anderson .Paak, Silk Sonic - Leave the Door Open [Official Video]

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1. Olivia Rodrigo - Drivers License

2. Silk Sonic - Leave the Door Open

3. Taylor Swift - Willow

4. SZA - Good Days

5. H.E.R. - Damage

6. Chris Stapleton - Starting Over

7. Billie Eilish - Happier Than Ever

8. Lana Del Rey - Let Me Love You Like a Woman

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On the surface, SZA's single 'Good Days' is about letting go of a past relationship, and the lingering feelings of attachment and regret that accompany it. But woven within this narrative of love and loss, SZA has embedded more complex themes which shimmer below the surface of the track and drive its most magical qualities, allowing it to become an immersive and intimate exploration of isolation and hope.

Through its ability to tap into the deeper cravings of its audience, these more spiritual underpinnings of 'Good Days' may have been a key contributor to its unprecedented success.

'Good Days' recently passed the milestone of one million units sold, making it a certified platinum single just two months after its release on Christmas day. The track has not only been rapidly successful - reaching No. 1 on the US Spotify Streaming Chart by January 5th - but also uniquely successful for SZA, as it's her first solo record to reach the top ten of the Billboard Hot 100.

This success is no doubt partially a product of her existing following, which has grown significantly and consistently since the release of her debut album Ctrl in 2017. Even so, the success of 'Good Days' has exceeded expectations, and its popularity has skyrocketed past 'Hit Different', which was released three three months earlier and was SZA's first release as the sole lead artist since Ctrl. What is it, then, that makes 'Good Days' magnetic enough to attract millions of listeners?

Not your average bop: 'Good Days' has some bittersweet production

SZA never intended to release 'Good Days' as a single, which is pretty unsurprising when considering the track's subtle, ambient production. Beginning with a delicate looping guitar riff and extra-terrestrial sound-effects, the song's intro invokes an isolated, space-like atmosphere, before swelling to include a steady beat that grounds the listener and drives the song forward at a relaxed pace. Birds tweeting and children talking are embedded among the many layers of sound, creating a sense of nostalgia and adding to the single's hazy, dream-like impression. Towards the end of the song, more powerful emotions of joy and hope are cultivated, as synth chords build along with the soaring vocals of Jacob Collier, who helped write and compose the single, and who graces the outro with some beautiful chromatic harmonies.

The production and composition of 'Good Days' prompt an emotional experience that is neither exclusively uplifting nor gloomily sentimental - it's some strange combination of the two. It's like being reminded of a happy memory with a friend you no longer keep in touch with or leaving the house for the first time after a period of depression. The contrasting layers of the track make you feel hopeful, while also subtly reminding you just how fragile and precious that feeling of hope can be.

Digger deeper: SZA's lyrics confront isolation

While the song's production is enough to have you immersed in SZA's emotional dimension, the narrative of her lyrics solidifies you there. The song begins with SZA struggling to move on from a past relationship: "You be heavy in my mind, can you get the heck out?". The post-breakup stress of the intro is then immediately contrasted with the almost naively hopeful sentiments of the chorus: "All the while, I'll await my armoured fate with a smile / I still wanna try, still believe in / Good days, good days, always ... Good day living in my mind".

"Good day living in my mind" seems to refer to one's ability to find hope simply through faith in the future, yet in the second verse, SZA complicates this simplicity through biblical references:

"Feelin' like Jericho / Feelin' like Job when he lost his shit / Gotta hold my own, my cross to bear alone, I"

In referencing the biblical figure Job, who was deprived of his family, health, and property, as well as emphasising her need to bear the cross alone, SZA seems to be highlighting that mental battle is often an isolating experience. She alone occupies the space in her mind where all this conflict takes place.

It could be that this articulation of isolation is part of what makes 'Good Days' especially meaningful to its audience - it taps into some of the core experiences of COVID-19, a time when so many are forced to grapple with their hardships alone. Younger generations in particular have disproportionately experienced the mental impacts of the pandemic, and SZA's audience is likely to connect the song's exploration of isolation and mental conflict to the many mental effects of quarantine. Perhaps in an effort to solidify this connection, SZA's third verse states "Gotta get right / Tryna free my mind before the end of the world", seemingly referring to the pandemic or the many incomprehensible horrors of the past year.

Beyond quarantine: Cultivating hope and spirituality

What makes 'Good Days' a truly meaningful listening experience, however, is not just its ability to articulate isolation, but rather its ability to cultivate hope. In the final verse of the track, SZA states "Half of us layin' waste to our youth, is in the present / Half of us chasin' fountains of youth and it's in the present now", before the song launches into its outro of uplifting synths and backup vocals. It seems that in these closing statements, SZA is providing a tentative conclusion to her exploration of isolation - appreciation of the present moment. It's not a grand statement or even a solution, it's simply an observation. Sometimes our darkest thoughts can be partially alleviated by being mindful of what we already have in the present.

This source of happiness provides the more realistic underpinning of the idealistic joy expressed in the chorus; by acknowledging the beauty of the present moment, we can help gear our thoughts towards being hopeful of the future.

This articulation of hope as found in the current moment alludes to spiritual concepts like mindfulness and manifestation, and when paired with the other-worldly atmosphere of the song's production, SZA's narrative seems to expand beyond the experience of quarantine toward someething greater. SZA herself has described 'Good Days' as a "personal mantra", adding "I have nothing else but to believe in good days because if not, what? I'm just going to let it spiral out of control? And that's not an option". SZA not only acknowledges the spiritual qualities of 'Good Days', but also implies that the single serves to continue themes present in her previous album, Ctrl.

More significant than SZA's personal interpretation, perhaps, is how these spiritual themes connect to her young audience. Studies show that new forms of spirituality have been increasing in popularity for decades, and practices that go beyond religious traditions are particularly popular among younger generations.

Perhaps partly due to the rise of digital spaces like Spiritual TikTok, new ways of exploring and practising spirituality and religion are increasingly shared and normalised among young people online, speeding up these existing cultural trends. Young people are expanding and experimenting with their spiritual selves more than ever before, and 'Good Days' speaks directly to those moments of realisation, while maintaining a degree of spiritual ambiguity that allows for personal interpretation and intimate listening.

In conclusion, thank you, SZA

It's not hard to understand why SZA never intended to release 'Good Days' as a single - it's not an addictive bop, nor an emotional anthem, like so many songs on Ctrl. It's murky and vague and atmospheric, yet within its many layers, SZA has woven something utterly magical and unique, providing a song, a space, a mantra through which her audience can acknowledge and heal from the troubles of isolation through hope and spiritual realisation. In a time when the bleakness of the world feels inescapable, SZA has offered her audience a brief moment of peace - and we've gladly received it.

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'Good Days' by SZA is a mantra for hope when we've needed it most - Candid Orange

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Through its ability to tap into the deeper cravings of its audience, these more spiritual underpinnings of 'Good Days' may have been a key contributor to its unprecedented success. 'Good Days' recently passed the milestone of one million units sold, making it a certified platinum single just two months after its release on Christmas day.

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1. Olivia Rodrigo

2. The Kid LAROI

3. Arlo Parks

4. clairo

5. Saweetie-sq

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https://www.rollingstone.com/music/music-features/clairo-new-album-sling-blouse-antonoff-immunity-1193000/

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Claire Cottrill became a Gen Z hero for her deeply openhearted songs, but ended up wondering whether she wanted to stick with music at all. So she headed to the country to find herself and a way fo…

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brytyjska piosenkarka i poetka. Jej debiutancki album studyjny, "Collapsed in Sunbeams", został wydany w 2021 roku i zdobył uznanie krytyków i zajął trzecie miejsce na brytyjskiej liście albumów. Zdobyła nominacje do albumu roku, najlepszej nowej artystki i najlepszej brytyjskiej artystki solo w 2021 Brit Awards. Zdobyła również nagrodę Hyundai Mercury w 2021 roku za najlepszy album.